Despite Wright’s visual panache and technical ingenuity, his version of Tolstoy’s romantic epic never quite fully soars. There are plenty of invention and audacity on display here, but storytelling seems to play second fiddle to style and pageantry. Anna’s tortured journey to destructive love is somehow overshadowed by Wright’s meticulous showmanship.
Whilst sporadically absurd and often restrained, Hanna works well as a postmodern take on Brothers Grimm crossed with post-Cold War spy thriller. It’s smartly paced, impressively choreographed and directed by Wright, and anchored by a solid central performance by Ronan, who’s running ahead as best young actress of her time. Plus, it has Blanchett playing mega-bitch, too.